At the same time funny and intelligent, Kick-Ass has all the charts in hand in order to impress the cartoon fans on big screen and to even allure people who make urticaria in front of this omnipresent kind. Perhaps not a large snap like The Dark Knight or Watchmen, but nevertheless an effective entertainment.

Dave (Aaron Johnson) is a teenager who does not have any success near the girls. In order to spice his existence, he decides to change skin and to cover it with the mask of Kick-Ass. Even if he does not have any capacity, his popularity climbs out after an unequal confrontation with three shadies. From a day to another, he becomes the whooping-cough of New York inhabitants, who enables him to meet the tandem father and girl Big Daddy (Nicolas Cage) and Hit Girl (Chloë Grace Moretz) who really fight to change the king, as well as the mysterious Red Mist (Christopher Mintz-Plasse). The crime notches in the Large Apple and we would need somebody for bring the good back.

Adapted recent cartoon of the same name written par Millar Mark and illustrated by John Romita Jr, Kick-Ass very little in common with Spider-Man and X-Men. It is rather about a roundly carried out comedy which diverts stereotypes (escape of reality, double identity, desire of revenge, etc) of these universes to offer something again. A bet gained by the scenario writer Matthew Vaughn, who changes style (after the revelation Layer Cake and the nice Stardust) with an disconcerting ease.

Although his feature-length film is not terribly ambitious, his mixture of humor and action functions with full compatibility. The first part skilfully camps – and a little lengthily – the stakes, whereas the second does all to fly in glare. If it is necessary to accept the laughableness of the company to take a certain pleasure there, the spectator is quickly rewarded. By a dynamic and rhythmic scene like the one in Hulk first grinding bathed of a very pleasant soundtrack, by some gags and situations twisted which surprise favourably, and by many winks with the popular culture, in particular from The Matrix, Kill Bill, the good old Batman with Adam West and the western spaghetti.

The ease of interpretation also makes the characters particularly attractive. Aaron Johnson and Christopher Mintz-Plass seem to compete in the pathetic ambient, whereas Mark Strong (Sherlock Holmes) is always perfect into villain who spends his time to lie. It is however the other tandem of superheroes who steals the popularity from them. Hit Girl is a fantastic ball of energy which strikes and kills almost all things that moves on the top of her 11 years. A laughing exploit raised high the hand by Chloë Moretz Grace. At her sides, Nicolas Cage multiplies tasty allusions, enjoying to put too much of it, which can only make the viewer laugh instantaneously.

Playing the card of momentary futility, taking care not to too much explore the dramatic and psychological stakes of its topics as could do it the clever Franklyn of Gerald McMorrow and the surprising Defendor of Peter Stebbings, Kick-Ass stays a large violent joke which wants to be rather succeeded. The project points out the inconsistency and sometimes even the stupidity of these people who walk with masks and sticking to defend the established order. As what the kind can be treated very seriously (the made-to-order of Christopher Nolan) or with all the salt of the sand pit. A choice which clashes by those time in the cinema industry.

The scenario is repeated only one week after the almost-dead heat between the two heads of the North-American Box Office. This time, the duel is played between superhero movie Kick-Ass of Lionsgate and the cartoon film of DreamWorks Animation, How to Train Your Dragon.

According to the estimates, Kick-Ass, released this week, should bring back 19.75 million American dollars. A little less than what the producers expected, but it would be however about a good introduction.

Announced first this week, How to Train Your Dragon should generate 20 million dollars. The cartoon film was released four weeks ago.

Again, it will be necessary to be careful in front of the numbers advanced by the production companies. On the last week, the receipts recorded at the end of the weekend proved that the estimates of the producers were not always exact. Indeed, Date Night had finally finished second – and not first – behind Clash of the Titans.

This situation, where films are so close in the Box Office that we cannot be sure estimates, is exceptional. Box Office analysts say that they have seen that twice of two weeks.

New in the rooms and in the top 10, the American remake of the British comedy of the same name, Death at a Funeral, took the fourth place with an income of 17,3 million dollars.

Letters to God and Diary of a Wimpy Kid do not form part of the ten leaders of the classification anymore.